Phrasing-bar for musical instruments.



I. B. SMITH.

PHRASING BAR FOR MUSICAL INSTRUMENTS.

APPLICATION FILED JULY 3, 1912.

Patented Sept. 29, 1914.

3 SHEETS-SHEET 1.

THE NORRIS PETERS 60.. PHOTG-LITHDU WASHINGTON, D, c.

I. B. SMITH.

PHRASING BAR FOR MUSICAL INSTRUMENTS.

APPLICATION FILED JULY 3, 1912.

1 1 1 2, 1 66. Pa ented Sept. 29, 1914.

3 SHEETSSHIIET 2.

amvewto'a THE NORRIS PETERS CQ, PHOTO-LITHO.. WASHINGTON. D. c.

I. B. SMITH.

PHRASING BAR FOR MUSICAL INSTRUMENTS.

APPLICATION FILED JULYS, 1912.

1,1 12, 1 66. Patented Sept, 29, 1914.

3 SHEETS-SHEET 3. E

E5 :LE

THE NORRIS PETERS Cow PHOTO-LITHO.. WASHINGTON. 0, C.

UNITED STATES PATENT orrron.

IRVING B. SMITILOF PHILADELPHIA, PENNSYLVANIA, ASSIGNOR TO ELECTRELLE COMPANY, OF PHILADELPHIA, PENNSYLVANIA, A CORPORATION OF PENN- SYLVANIA.

PHRASING-BAR FOR MUSICAL INSTRUMENTS.

To all whom it may concern:

Be it known that I, IRVING B. SMITH, a citizen of the United States, residing at Philadelphia, in the county of Philadelphia and State of Pennsylvania, have invented new and useful Improvements in Phrasing- Bars for Musical Instruments, of which the following is a specification.

My invention relates to phrasing bars used in connection with expression mechanism, and while generally suitable for musical instruments of various kinds, is espe cially adapted for use in connection with u J'riht and grand oianos.

Among the several objects I seek more particularly to accomplish are the follow-- ing: I. To give a wider range of expression (other things being equal) to the notes rep resented by the keys which are most used in playing ordinary selections, said keys being disproportionately plentiful in the center octaves of the piano. II. To enable the number of keys, or their equivalent, to be I increased (other things being equal) without impairment of the range of expression. III. To so distribute and arrange the different sections of the composite phrasing bar that while all parts of the said phrasing j bar may be used for varying the expression,

and the expression of all the notes may be varied by the bar, yet the greatest variation possible with any part of the bar is upon the notes represented by keys located favorably to their frequent use. IV. To improve the efficiency of various parts and their connections, for the purpose of improving the general efliciency of mechanism of this kind.

Before proceeding to a detailed descrip 3 tion ofmy invention I will make a few observations explanatory of some of the condi tions surrounding the general use of phrasing bars in connection with self playing pianos. Owing to practical considerations 1 and particularly to the necessity to avoid the use of too many levers, it has heretofore been found that the phrasing bar could not properly be made of suflicient length to be applicable for use with the large number of keys desirable in some pianos. This was because the number of sections of the phrasing bar could not be increased without increasing the number of levers for handling the bar, and while the sections might be made longer, the lengthening of the sections 18d Specification of Letters Patent.

Application filed July 3, 1912.

Patented Sept. 29, 1914:. Serial No. 707,527.

to a sacrifice in the degree of control exercised by any particular section of the phrasing bar. Inlengthening the individual sections of the bar, each section was limited to a smaller degree of angular travel relatively to other sections. What I seek to do there fore relatively to the phrasing bar, is to enable the sections disposed adjacent to the proximate middle of the bar to swing at considerable angles relatively to other parts of the piano, and in doing this to interfere but little, if at all, with the control of the notes represented by keys disposed near the ends of the keyboard.

I accomplish the object in question by making the phrasing bar in a plurality of sections, preferably four, and providing means for moving the end sections in a manner somewhat different from that employed for moving the middle sections. While each section is rigid, all of the sections are flexibly connected together in the form of a practically continuous bar. I mount the end sections to swing or move bodily, the degree of movement at the respective ends of each end section being always equal, so that the end sections are always either in alinement with each other or occupy lines which are parallel with each other. The two middle sections, however, are mounted to swing at different angles relatively to each other, and to the end bars or either of them. By this means the composite phrasing bar as a whole can be bent to a sharp angle, or what is practically the same thing, made to describe a comparatively sharp curvature, at the abutting ends of the middle sections, and also at the oints where the middle sections are connected with the end sections. Such being the case, the variation of the range of expression is very great at the center or at the proximate middle of the keyboard, and therefore at the part of the musical scale where the notes are most used in ordinary selections.

Reference is made to the accompanying drawings forming a part of this specification, and in which like letters indicate like parts.

Figure 1 is a digrammatic plan showing the composite phrasing bar in its normal position. Fig. 2 is a diagrammatic plan of the phrasing bar showing the middle sections thereof as swung to an angle relatively to each other and to the end sections for the purpose of varying the expression of notes represented by the center octaves of the piano. Figs. 3, 1, and 5 show the phrasing bar in various positions as used for controlling the expression of notes represented by different sets of keys upon the piano. Fig. 6 is a detail showing one of the joints used for flexibly connecting together two sections of the phrasing bar. Fig. 7 is a detail showing how the two middle sections of the phrasing bar are flexibly connected together. Fig. 8 is a view somewhat similar to Fig. 6, and shows another joint for connecting together two of the sections. Fig. 9 is an elevation, but is otherwise similar to Fig. 6. Fig. 10 is an elevation, but otherwise similar to Fig. 7. Fig. 11 is a front view, partly in elevation, and partly broken away, showing my improved phrasing bar as applied to an upright piano. Fig. 12 is a section on the line 1212 of Fig. 11, looking in the direction of the arrow.

The casing of the piano is shown at 13. A supporting bar 14 extends across the piano and is mounted upon hangers 15, the supporting bar 1i carrying a number of bearing brackets 16, 17, 18, 19, 20 extending upwardly from it. Journaled in these brackets are three rocking shafts 21, 22, 23. Connected rigidly with the rocking shaft 22, and extending downwardly therefrom are two arms 24, 25. The shaft 21 is similarly provided with two arms 26, 27. The shaft 23 carries a single arm 28. The rods 29, 30, 31 are connected with three expression levers 32, 33, 34 which may be of the usual or any desired pattern, these levers extending through a guide 35, which is for this purpose provided with slots 36. Mounted upon the rocking shaft 21 is a crank 37, and similarly the rocking shafts 23, 22 are provided with cranks 38, 39. Three cranks 37, 38, 39 are pivotally connected with the three rods 29, 30, 31' so that when the expression levers 32, 34 are operated the rocking shafts 21, 23, and 22 are actuated accordingly. Four phrasing bar sections 40, 41, 4:2, 43 are flexibly connected togethenand mounted upon the lower ends of the arms 24, 25, 26, 27 28 as shown in Fig. 11, the said bar sections normally holding the piano hammers close to the piano strings as illustrated in Fig. 12. The arrangement of the phrasing bar sections. and the arms supporting them, is such that whenever the crank 39 is elevated the phrasing bar section 43 and the hammers supported thereby are moved bodily away from the piano-strings, and similarly when the crank 37 is elevated the phrasing bar sect-ion 40 together with the series of hammers supported thereby are moved bodily forward or away from the strings. hen, however, the crank 38 is elevated the arm 28 presses the adjacent ends of the bar sect-ions 41, 42 forward so that these sections together with the hammers resting thereagainst describe an angle.

I will now describe my means for connecting flexibly together the various sections of the phrasing bar. Mounted in one end of the section 89 is a pin 95 which extends through a sheet metal fastening 98 into a slot 97 with which the section 88 is provided. Within the slot 97 is a packing of felt into which the pin 95 extends, as will be understood from Fig. 6. The sections 89, 90 are connected together by a flexible member 98, preferably of leather or thin sheet metal. A strap 99 serves as a fastening for holding the member 98 upon the arm 85. The sections 90, 91, are connected in like manner as the sections 88, 89 (see Fig. 8.) In order to adjust the phrasing bar to the proper height relative to the hammers, I employ adjusting nuts 100 as shown in Fig. 10. The manner in which the connection is made between sections 88 and 89 or 90 and 91 may be readily understood from Fig. 9. It will be noted, therefore, that the sections 88, 91 do not move angularly, except in the sense that they swing straight backward, each end of the section always moving the same distance as its opposite end. The sections 89, 90 however, are turned at various angles relatively to each other, and to the end sections 88, 91.

The arrangement just described is very effective for the purpose of giving the operator control over a wide range of expression, and this is true even in a piano having an unusually large number of keys. Moreover this arrangement facilitates the control of the expression of such notes as are represented by the central octaves of the piano.

The operation of my improved phrasing bar may readily be understood from the foregoing description, read more particularly with Figs. 1, 2, 3, 1, and 5. Fig. 1 shows all portions of the bar in their respective normal positions, which they occupy so long as the expression levers remain in their uppermost or idle positions. If the operator leaves undisturbed the middle expression lever and depresses the two others, the phrasing bar assumes the position indicated in Fig. 2. This intensifies the loudness of the notes represented by the end octaves of the piano, as the corresponding portions of the phrasing bar, serving as a hammer rest, are thus moved away from the plane of the strings. If, instead, however, no lever be moved except the one to the right, the phrasing bar assumes the position indicated in Fig. 3, the loudness of the higher notes of the piano, represented by keys at the right of the instrument being correspondingly increased. Again, if the middle lever alone be depressed, the phrasing bar as a whole is practically bent outwardly at its middle, as indicated in Fig. t, and the loudness of the notes of the socalled middle octaves of the piano is increasedthis effect being equally enhanced by the fact that the end sections each as a whole occupies its extreme position toward the back of the piano, so that each middle section is inclined at a considerable angle to the plane of the strings. That is to say, the angular inclination of the bar sections 89, 90 is greater than would be the case if the bar sections 88, '91 did not occupy extreme positions toward the plane of the strings. If the middle lever and the one to the right be depressed, the phrasing bar appears as shown in Fig. 5, the loudness of the notes being greatest for the keys at the proximate middle and right side of the piano; j v

Adjacent the ends of the piano the keys are seldom used at all, and when they are used the variations desired in their expression are as a rule comparatively small.

, rangement upon any particular type of musical instru- By my improved construction of piano, I find that the notes represented by the end keys are given as much expression as is likely to be required of them, and that the range of expression conferred upon. the notes represented by. the central octaves of the piano is fully as great as if the piano had" a much smaller number of keys, and was provided with an expression mechanism of any of the. kinds heretofore used.

The reference numeral 51, Fig. 12, designates a rotary shaft that is employed to actuate the usual friction shoes (not shown) common in electro-mechanically operated pianos, but as the hammer actuating mechanism forms no part of the present invention the same need not be illustrated or described in detail.

I do not limit myself to the precise arshown for the use of my device ment requiring or permitting of the use of a'plirasing bar.

I'make no claim to the particular form of expression levers here shown in connection with my improved phrasing bar. Expression levers of any kind suitable for shifting the barsections as described may be employed.

' What I claim is 1. In expression mechanismfor musical instruments, the combination with the hammers and the strings on which they act, of a plurality of hammer supporting bars for moving said hammers into different positions of rest, and means including but one operating device for simultaneously moving two of said bars to cause the hammer heads supported by one bar to assume different positions of rest in planes parallel to the plane of the strings and the hammer heads supported by an adjacent bar to assume different positions of rest in planes oblique to the plane of the strings. j

2. In expression mechanism for musical instruments, a phrasingbar comprising a pluralty of movable sections, means including but one operating device for imparting a movement of translation to one section, and means whereby said movement will cause another section to assume a position oblique to the first named section.

3. In expression mechanism for musical instruments, a phrasing bar comprising a plurality of movable sections arranged and connected end to end, means including but one operating device for imparting a movement .of translation to one section, and means whereby said movement will cause an adjacent section to assume a position oblique to the first named section.

4:. In expression mechanism for musical instruments, a flexible phrasing bar comprising intermediate and end sections arranged and joined end to end, means including but one manually operable controller having operative connections with each of the said end sections for moving the latter independently into different parallel planes, and means whereby movements 'of either end section into different parallel planes will cause an adjacent intermediate section to assume different positions in planes ob lique to the parallel planes- 5. In expression mechanism for musical instruments, a phrasing bar comprising a.

plurality of normally alined intermediate and end sections flexibly connected together at their adjacent ends, separate operating means including but one finger key connected to each of the end sections for moving the latter into different parallel planes, and means whereby movement of one end section will cause the adjacent intermediate section to assume a position oblique to the plane of the end section so moved.

6. In expression mechanism for musical instruments, a phrasing bar comprising four flexibly connected sections arranged end to end, three separate manually operable controllers and separate actuating connections between said controllers and sections, each connection including means for simultaneously moving two adjacent sections of the phrasing bar, one of said connections moving one section into different parallel planes and the other section into planes oblique thereto.

7. In expression mechanism for musical instruments, a phrasing bar comprising four flexibly connected sections arranged end to end and three separate operating devices each having an operative connection with one of said sections, including means whereby each of two of said operating devices will always move its connected section into difiierent parallel planes and simultaneously move its adjacent section into different planes oblique thereto,

8. In a musical instrument, the combination with a series of hammers and strings,

of a sectional rest for said hammers, and means including a single manually-controlled operating device having an operative connection with said rest to simultaneously move two of the sections thereof to cause some of the hammers of the series to assume a position of rest at an angle to the-plane of the strings and others of the series to assume a position of rest parallel to the plane of the strings.

9. In expression mechanism for musical instruments, the combination with strings and a series of hammers for striking the same, of a sectional rest for said hammers, and means including a single manually-controlled operating device connected with one of the sections of the rest for moving the same and an adjacent section toward and from the strings to cause some hammers of the series to assume variable positions of rest at an angle to the plane of the strings and other hammers of the series to assume variable positions of rest parallel to the plane of the strings.

10. In expression mechanism for musical instruments, the combination with strings 'and a series of hammers for striking the same, of a sectional rest for said hammers, and means including a single manuallycontrolled operating device connected'with said rest for moving the sections thereof, to cause some hammers of the series to assume different positions of rest parallel to the plane of the strings, and other hammers of the series to assume different positions of rest other than parallel to the plane of the strings.

11. In expression mechanism for musical instruments, the combination, with a series of hammers and strings, of a sectional rest for said hammers, and means including a single manually-controlled operating device connected with said rest to move the same to cause some of the hammers located toward the middle of the series, to assume different positions of rest at an angle to the plane of the strings, and others of the hammers, located toward the ends of the series, to assume positions of rest parallel to the plane of the strings. I

In testimony whereof I have hereunto set my hand in presence of two subscribing witnesses.

IRVING B. SMITH. Witnesses:

JOHN L. CORNOG, W; C. RAISNER.

Qopies of this patent may be obtained for five cents each, by addressing the Commissioner of Patents.

Washington, D. O." 

